{"id":34974,"date":"2013-10-11T06:18:36","date_gmt":"2013-10-11T06:18:36","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=34974"},"modified":"2020-01-10T17:22:07","modified_gmt":"2020-01-10T16:22:07","slug":"irrumpir-en-la-historia-marcelo-gardinetti","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/irrumpir-en-la-historia-marcelo-gardinetti\/","title":{"rendered":"Irrumpir en la historia | Marcelo GardinettiIrrumpir na historia | Marcelo GardinettiBursting onto the history | Marcelo Gardinetti"},"content":{"rendered":"

<\/p>\n

Poner en valor un edificio que forma parte del patrimonio hist\u00f3rico de una ciudad es un momento de reflexi\u00f3n necesario y trascendente. La urbe como organismo activo exige un dialogo din\u00e1mico y de permanente evoluci\u00f3n. Este suceso promueve la reformulaci\u00f3n de las estructuras vigentes, con mutaciones dogm\u00e1ticas o provocadoras que al reformular el patrimonio intangible, permiten irrumpir en la memoria colectiva.<\/p>\n

\"\"<\/a>
Museo Militar de Dresden\u00a0| Fotograf\u00eda: \u00a9Hufton + Crow<\/span><\/figcaption><\/figure>\n

Atento a estas relaciones, Daniel Libeskind compone una observaci\u00f3n sobre el pasado que manifiesta en la materializaci\u00f3n de su propuesta para el Museo Militar de Dresden. El edificio erigido para alojar un arsenal militar en 1876, result\u00f3 una de las estructuras sobrevivientes de los bombardeos que arrasaron la ciudad durante la Segunda Guerra Mundial y un actor presencial del r\u00e9gimen Nazi, de la ocupaci\u00f3n Rusa y de la Alemania dividida.<\/p>\n

El paso de Libeskind por el edificio no resulta intrascendente. Reflexiona sobre esta estructura que fue la representaci\u00f3n cabal de la violencia y se encarniza por enmendar su imagen. La desaf\u00eda estableciendo una intrusi\u00f3n concluyente con la intenci\u00f3n de aturdir las posiciones autoritarias del pasado. Un reto que supera las cualidades de la estructura arquitect\u00f3nica para instaurar un punto de inflexi\u00f3n axiom\u00e1tico que perturba la sem\u00e1ntica con una contundencia voraz.<\/p>\n

\"\"<\/a>
Museo Militar de Dresden | Fotograf\u00eda: \u00a9Hufton + Crow<\/span><\/figcaption><\/figure>\n

En esta narraci\u00f3n, la arquitectura no se desentiende de la significaci\u00f3n hist\u00f3rica, la subordina a una nueva graf\u00eda para embanderar los anhelos de una sociedad que desprecia la futilidad de la violencia.<\/em><\/strong><\/p>\n

\"\"<\/a>
Museo Militar de Dresden | Fotograf\u00eda: \u00a9Hufton + Crow<\/span><\/figcaption><\/figure>\n

Esta intromisi\u00f3n toma forma construida en la figura de una cu\u00f1a tridimensional que ignora la disposici\u00f3n axial del edificio. La nueva entidad se pronuncia elev\u00e1ndose desde el extremo m\u00e1s alejado del patio posterior, perfora el n\u00facleo de central de la estructura arquitect\u00f3nica y asoma sobre el frente sometiendo la simetr\u00eda de la fachada.<\/p>\n

As\u00ed instituida, genera una dial\u00e9ctica estridente donde lo viejo y lo nuevo, la opacidad y la transparencia, conviven desafiantes sin desconocer que son partes opuestas de la historia de la ciudad.<\/p>\n

\"\"<\/a>
Museo Militar de Dresden | Fotograf\u00eda: \u00a9Hufton + Crow<\/span><\/figcaption><\/figure>\n

El v\u00e9rtice saliente de la nueva estructura se\u00f1ala el punto donde comenz\u00f3 el bombardeo. En su interior, una plataforma elevada sobre la exposici\u00f3n de armamentos b\u00e9licos permite alcanzar la visi\u00f3n de una ciudad reconstruida, sobrepuesta a las descargas que la dejaron en ruinas.<\/p>\n

Durante el recorrido al museo, el visitante encuentra dos realidades confrontadas: la estructura\u00a0 hist\u00f3rica exhibe en orden cronol\u00f3gico la historia militar del pa\u00eds; la nueva reformula el enfoque atendiendo las demandas de las fuerzas sociales y propone una reflexi\u00f3n sobre los impulsos que generan la cultura de la violencia.<\/p>\n

\"\"<\/a>
Museo Militar de Dresden | Fotograf\u00eda: \u00a9Hufton + Crow<\/span><\/figcaption><\/figure>\n

El relato de Libeskind seguramente suscite juicios heterog\u00e9neos respecto a su concluyente actuaci\u00f3n sobre una estructura hist\u00f3rica. Sin embargo, revela un punto de vista indiviso y promueve un valioso debate respecto al car\u00e1cter que debe arrogarse una intervenci\u00f3n sobre estructuras de valor patrimonial. Un llamado a la reflexi\u00f3n que resulta m\u00e1s significativo que discurrir sobre las graf\u00edas empleadas en esta obra.<\/p>\n

Marcelo Gardinetti . arquitecto
\nLa Plata. octubre 2013<\/p>\n

<\/p>\n

To put in value a building that forms a part of the historical heritage of a city is a necessary and transcendent moment of reflection. The city like active organism demands a dynamic dialog and of permanent evolution. This event promotes the reformulation of the in force structures, with dogmatic or provocative mutations that on having re-formulated the intangible heritage, they allow irrumpir in the collective memory.<\/p>\n

\"\"<\/a>
Dresden’s Military museum\u00a0| Photography: \u00a9Hufton + Crow<\/span><\/figcaption><\/figure>\n

I commit an outrage against these relations, Daniel Libeskind composes an observation on the past that it demonstrates in the materialization of his offer for Dresden’s Military Museum. The building raised to lodge a military arsenal in 1876, turned out to be one of the surviving structures of the bombardments that devastated the city during the Second World war and an actor presencial of the regime Nazi, of the Russian occupation and of the divided Germany.<\/p>\n

Libeskind’s step along the building does not turn out to be not transcendental. He thinks about this structure that was the complete representation of the violence and becomes greedy for amending his image. It defies it establishing a conclusive intrusion with the intention of stunning the authoritarian positions of the past. A challenge that overcomes the qualities of the architectural structure to restore an axiomatic point of inflexion that disturbs the semantics with a voracious forcefulness.<\/p>\n

\"\"<\/a>
Dresden’s Military museum\u00a0| Photography: \u00a9Hufton + Crow<\/span><\/figcaption><\/figure>\n

In this story, the architecture does not affect ignorance of the historical significance, subordinates a new graf\u00eda to beflag the longings of a company that despises the futility of the violence.<\/em><\/strong><\/p>\n

\"\"<\/a>
Dresden’s Military museum\u00a0| Photography: \u00a9Hufton + Crow<\/span><\/figcaption><\/figure>\n

This interference takes form constructed in the figure of a three-dimensional wedge that ignores the axial disposition of the building. One declares the new entity rising from the end most removed from the later court, it perforates the core of head office of the architectural structure and begins to show on the front submitting the symmetry of the front.<\/p>\n

This way instituted, it generates a strident dialectics where the old thing and the new thing, the opaqueness and the transparency, coexist challenging without not knowing that they are opposite parts of the history of the city.<\/p>\n

\"\"<\/a>
Dresden’s Military museum\u00a0| Photography: \u00a9Hufton + Crow<\/span><\/figcaption><\/figure>\n

The salient vertex of the new structure indicates the point where it began the bombardment. In his interior, a platform raised on the exhibition of warlike armaments allows to reach the vision of a city reconstructed, got over from the unloads that left her in ruins.<\/p>\n

During the tour to the museum, the visitor finds two confronted realities: the historical structure exhibits in chronological order the military history of the country; the new reformula the approach meeting demand the demands of the social forces and he proposes a reflection on the impulses that generate the culture of the violence.<\/p>\n

\"\"<\/a>
Dresden’s Military museum\u00a0| Photography: \u00a9Hufton + Crow<\/span><\/figcaption><\/figure>\n

Libeskind’s statement surely provokes heterogeneous judgments with regard to his conclusive action on a historical structure. Nevertheless, it reveals an undivided point of view and promotes a valuable debate with regard to the character that must assume an intervention on structures of patrimonial value. Called the reflection that turns out to be more significant that to pass on the graf\u00edas used in this work.<\/p>\n

Marcelo Gardinetti . architect
\nLa Plata. october 2013<\/p>\n

<\/p>\n

Po\u00f1er en valor un edificio que forma parte do patrimonio hist\u00f3rico dunha cidade \u00e9 un momento de reflexi\u00f3n necesario e transcendente. A urbe como organismo activo esixe un dialogo din\u00e1mico e de permanente evoluci\u00f3n. Este suceso promove a reformulaci\u00f3n das estruturas vixentes, con mutaci\u00f3ns dogm\u00e1ticas ou provocadoras que ao reformular o patrimonio intanxible, permiten irromper na memoria colectiva.<\/p>\n

\"\"<\/a>
Museo Militar de Dresden | Fotograf\u00eda: \u00a9Hufton + Crow<\/span><\/figcaption><\/figure>\n

Atento a estas relaci\u00f3ns, Daniel Libeskind comp\u00f3n unha observaci\u00f3n sobre o pasado que manifesta na materializaci\u00f3n da s\u00faa proposta para o Museo Militar de Dresden. O edificio erixido para aloxar un arsenal militar en 1876, resultou unha das estruturas sobrevivientes dos bombardeos que arrasaron a cidade durante a Segunda Guerra Mundial e un actor presencial do r\u00e9xime Nazi, da ocupaci\u00f3n Rusa e da Alema\u00f1a dividida.<\/p>\n

O paso de Libeskind polo edificio non resulta intranscendente. Reflexiona sobre esta estrutura que foi a representaci\u00f3n cabal da violencia e encarniza se por emendar a s\u00faa imaxe. Desaf\u00edaa establecendo unha intrusi\u00f3n conclu\u00ednte coa intenci\u00f3n de atordar as posici\u00f3ns autoritarias do pasado. Un reto que supera as calidades da estrutura arquitect\u00f3nica para instaurar un punto de inflexi\u00f3n axiom\u00e1tico que perturba a sem\u00e1ntica cunha contundencia voraz.<\/p>\n

\"\"<\/a>
Museo Militar de Dresden | Fotograf\u00eda: \u00a9Hufton + Crow<\/span><\/figcaption><\/figure>\n

Nesta narraci\u00f3n, a arquitectura non se desentende da significaci\u00f3n hist\u00f3rica, subord\u00ednaa a unha nova graf\u00eda para embanderar os anhelos dunha sociedade que despreza a futilidade da violencia.<\/em><\/strong><\/p>\n

\"\"<\/a>
Museo Militar de Dresden | Fotograf\u00eda: \u00a9Hufton + Crow<\/span><\/figcaption><\/figure>\n

Esta intromisi\u00f3n colle forma constru\u00edda na figura dunha cu\u00f1a tridimensional que ignora a disposici\u00f3n axial do edificio. A nova entidade pron\u00fanciase elev\u00e1ndose dende o extremo m\u00e1is afastado do patio posterior, perfora o n\u00facleo de central da estrutura arquitect\u00f3nica e asoma sobre a fronte sometendo a simetr\u00eda da fachada.<\/p>\n

As\u00ed institu\u00edda, xera unha dial\u00e9ctica estridente onde o vello e o novo, a opacidade e a transparencia, conviven desafiantes sen desco\u00f1ecer que son partes opostas da historia da cidade.<\/p>\n

\"\"<\/a>
Museo Militar de Dresden | Fotograf\u00eda: \u00a9Hufton + Crow<\/span><\/figcaption><\/figure>\n

O v\u00e9rtice sa\u00ednte da nova estrutura sinala o punto onde comezou o bombardeo. No seu interior, unha plataforma elevada sobre a exposici\u00f3n de armamentos b\u00e9licos permite alcanzar a visi\u00f3n dunha cidade reconstru\u00edda, sobreposta \u00e1s descargas que a deixaron en ru\u00ednas.<\/p>\n

Durante o percorrido ao museo, o visitante encontra d\u00faas realidades confrontadas: a estrutura hist\u00f3rica exhibe en orde cronol\u00f3xica a historia militar do pa\u00eds; a nova reformula o enfoque atendendo as demandas das forzas sociais e prop\u00f3n unha reflexi\u00f3n sobre os impulsos que xeran a cultura da violencia.<\/p>\n

\"\"<\/a>
Museo Militar de Dresden | Fotograf\u00eda: \u00a9Hufton + Crow<\/span><\/figcaption><\/figure>\n

O relato de Libeskind seguramente suscite xu\u00edzos heterox\u00e9neos respecto \u00e1 s\u00faa conclu\u00ednte actuaci\u00f3n sobre unha estrutura hist\u00f3rica. Non obstante, revela un punto de vista indiviso e promove un valioso debate respecto ao car\u00e1cter que debe arrogarse unha intervenci\u00f3n sobre estruturas de valor patrimonial. Un chamado \u00e1 reflexi\u00f3n que resulta m\u00e1is significativo que discorrer sobre as graf\u00edas empregadas nesta obra.<\/p>\n

Marcelo Gardinetti . arquitecto
\nLa Plata. octubre 2013<\/p>\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Poner en valor un edificio que forma parte del patrimonio hist\u00f3rico de una ciudad es un momento de reflexi\u00f3n necesario y trascendente. La urbe como organismo activo exige un dialogo din\u00e1mico y de permanente evoluci\u00f3n. Este suceso promueve la reformulaci\u00f3n de las estructuras vigentes, con mutaciones dogm\u00e1ticas o provocadoras que al reformular el patrimonio intangible, […]<\/p>\n","protected":false},"author":4,"featured_media":34976,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[2119,318,8968,8969,12456,4985,12453,1004,1865,1241],"class_list":["post-34974","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-analisis","tag-ciudad","tag-daniel-libeskind","tag-dresden","tag-equipamiento-cultural","tag-marcelo-gardinetti","tag-museo-arquitectura-arquitectura","tag-patrimonio-historico","tag-reflexion","tag-sociedad"],"yoast_head":"\nIrrumpir en la historia | Marcelo Gardinetti<\/title>\n<meta name=\"description\" content=\"Irrumpir en la historia\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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